Name: Shakespeare Survey
Price: 340.8 RON
Availability: OnlineOnly
Author: Peter Holland
ISBN: 9781316611869

Shakespeare Survey: Shakespeare Survey, cartea Series Number 68

Peter Holland

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, the Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies and of the year's major British performances. The theme for Volume 68 is 'Shakespeare, Origins and Originality'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey. This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic, and save and bookmark their results.

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Cuprins

1. Shakespeare's anecdotal character Margreta de Grazia; 2. What is a source? Or, how Shakespeare read His Marlowe Laurie Maguire and Emma Smith; 3. Imitation or collaboration? Marlowe and the early Shakespeare canon Gary Taylor and John V. Nance; 4. 'O Jephthah, judge of Israel': from original to accreted meanings in Hamlet's allusion Péter Dávidházi; 5. The elephants' graveyard revisited: Shakespeare at work in Antony and Cleopatra, Romeo and Juliet and All's Well That Ends Well Catherine Belsey; 6. 'Every like is not the same': translating Shakespeare in Spanish today Alfredo Michel Modenessi; 7. Reading originals by the light of translations Tom Cheesman; 8. 'My name is Will': Shakespeare's sonnets and autobiography Stanley Wells; 9. Tracings and data in The Tempest: author, world and representation Janet Clare; 10. Shakespearean gesture: narrative and iconography Farah Karim-Cooper; 11. The origin of the late Renaissance dramatic convention of self-addressed speech James Hirsh; 12. Reading in their present: early readers and the origins of Shakespearian appropriation Jean-Christophe Mayer; 13. Shakespeare out of time (or, Hugo takes dictation from the beyond) Ruth Morse; 14. Betrayal, derail, or a thin veil: the myth of origin Bi-qi Beatrice Lei; 15. Global Shakespeares, affective histories, cultural memories Jyotsna G. Singh and Abdulhamit Arvas; 16. Spinach and tobacco: making Shakespearian unoriginals Peter Holland; 17. Ren Fest Shakespeare: the cosplay Bard Andrew James Hartley; 18. 'Dead as earth': contemporary topicality and myths of origin in King Lear and The Shadow King Kate Flaherty; 19. Shakespeare and the idea of national theatres Michael Dobson; 20. John Rice and the boys of the Jacobean King's Men David Kathman; 21. Shakespeare's Irish lives: the politics of biography Andrew Murphy; 22. Shakespeare in blockaded Berlin: the 1948 'Elizabethan Festival' Bettina Boecker; 23. Connecting the Globe: actors, audience and entrainment Robert Shaughnessy; 24. 'Freetown!': Shakespeare and social flourishing Ewan Fernie; 25. We'll always have Paris: the third household and the 'bed of death' in Romeo and Juliet Nicholas Crawford; 26. The 'serpent of old Nile': Cleopatra and the pragmatics of reported speech Jelena Marelj; 27. 'This insubstantial pageant faded': the drama of semiotic anxiety in The Tempest Lynn Forest-Hill; 28. Shakespeare performances in England 2014 Carol Chillington Rutter; 29. Professional Shakespeare productions in the British Isles, January–December 2013 James Shaw; The year's contribution to Shakespeare studies: 1. Critical studies Charlotte Scott; 2. Shakespeare in performance Russell Jackson; 3. Editions and textual studies Peter Kirwan.

Recenzii

'Tiffany Stern's essay, 'Sermons, Plays and Note-Takers: Hamlet Q1 as a 'Noted' Text', reads like an especially well-written and deftly plotted mystery novel. Taking as her subject the so-called 'bad quarto' of Hamlet, Stern leads the reader through a thoroughly documented and totally compelling rethinking of Q1's origins. [She] persuasively argues that this text is the product of a note-taking scribal audience who employed contemporary notational habits to produce a 'pirated' text for publication … [She] brings to life a new world of early modern performance through descriptions and details that offer many small openings onto the textual culture of the period … this essay not only offers a significant reassessment of Hamlet Q1, but also makes a claim for the cultural importance of note-taking practices in the early modern period more generally.' Medieval and Renaissance Drama Society